Ross Hammond Artist

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	<title>Ross Hammond Artist</title>
	<link>https://rosshammond.net</link>
	<description>Ross Hammond Artist</description>
	<pubDate>Fri, 17 Jul 2026 20:37:23 +0000</pubDate>
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		<title>Index</title>
				
		<link>https://rosshammond.net/Index</link>

		<pubDate>Tue, 27 Feb 2024 21:27:27 +0000</pubDate>

		<dc:creator>Ross Hammond Artist</dc:creator>

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		<title>Heavy Things</title>
				
		<link>https://rosshammond.net/Heavy-Things</link>

		<pubDate>Fri, 17 Jul 2026 20:37:23 +0000</pubDate>

		<dc:creator>Ross Hammond Artist</dc:creator>

		<guid isPermaLink="true">https://rosshammond.net/Heavy-Things</guid>

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Heavy Things

(2026)Installation
Duo exhibition with Campbell Mcconnell

Exhibited at Shallow Gallery, Milton Keynes,&#38;nbsp;Buckinghamshire

Heavy Things examines how memory, labour, and cultural rituals shape constructions of identity and belonging. Working across installation, moving image, and sculpture, the artists draw on overlooked histories andanecdotal fragments that reveal broader social and political conditions.
The exhibition is situated within a shopfront window, where anaccumulation of objects—boxed belongings, fragments of domesticinteriors, decorative plates, curtains, and dismantled walls—suggestsa site of transition. These elements appear temporarily held: stored, displaced, or awaiting movement. The space evokes both containment andcirculation, positioning the domestic as something unstable and continually reconfigured.
Three films unfold across the window, tracing themes of transport, railways,unions, and protest. Shaped by the political and economic shifts of the latetwentieth century—particularly union suppression and the privatisation ofthe British railway system—these works reflect on structures once centralto industrial production and national identity, now present in altered andfragmented forms. Within these works, an opera performance by NealCooper draws on Peter Grimes, staging the figure of the outsider througha live vocal address to model trains, producing a convergence of theatricalfiction and social reality. Another film, Punk Rob’s Song, examines 1990’s policing, referencing the death of Ibrahima Sey at Ilford Police Station in1996, while situating this alongside Punk Rob’s engagement with trade union politics, particularly the RMT, and the tension between anarchistrhetoric and organised labour.
The exhibition also considers how these histories are mediated throughpopular culture, including television and mass-produced imagery, which construct an idealised vision of Britain that obscures social conflict. This isfurther explored through interventions into representations of the English landscape. By inserting the angry face of Thomas the Tank Engine intoworks associated with John Constable and George Stubbs, the worksdisrupt idealised depictions of the countryside, revealing how such imagesconstruct and reproduce ideas of Englishness, class, and national identity.


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		<title>O,o,o,o.</title>
				
		<link>https://rosshammond.net/O-o-o-o</link>

		<pubDate>Fri, 16 Aug 2024 10:43:41 +0000</pubDate>

		<dc:creator>Ross Hammond Artist</dc:creator>

		<guid isPermaLink="true">https://rosshammond.net/O-o-o-o</guid>

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O,o,o,o.&#38;nbsp;

(2024)Installation
Exhibited at Chemist Gallery, Lewisham, London

Ross Hammond has moved into Chemist. In the front gallery, large walls lean against the gallery’s own, uprooted and remodelled on Hammonds’ family home and collective working-class 80’s - 90’s domestic decor. They are treated with wallpaper and paint, ornamented with coving and skirting. Sections have been cut into, ripped open or disassembled to reveal their own fabrication and hidden layers of found and imagined objects and imagery. A miniature model of Hammonds’ childhood home, a marching battalion and a barren countryside.

O, o, o, o. explores what is lost or forgotten and what we chose to remember. Idealised images of England are stashed away, displayed and hoarded, appearing through collector and hobbyist passion within painting, decorative plates and model making. These assortments adorn twee images of blacksmiths at work, glorifications of colonial explorations and locomotive travel.

In the back room of the house, on the pull down bed an ageing mediaeval period costume from Shakespheres’ Henry IV BBC production sits ready to be put on, while a voice from the adjoining bathroom is rehearsing. Elsewhere in the guest room, the usual smiling face of Thomas the Tank Engine and Friends have turned angry or upset, set in amongst tools of labour and industry.

Duality and contradictory stories play out in this forced domestic mash up, both front stage and back. The title ‘O, o, o, o.’ taken from numerous Shakespeare plays, is the last voice of the tragic quest. ‘O’&#38;nbsp; Brian Dilllon writes ‘is surely nothing more or less than the vocal expression, precisely, of silence.’


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	<item>
		<title>Lighthouse</title>
				
		<link>https://rosshammond.net/Lighthouse</link>

		<pubDate>Tue, 27 Feb 2024 22:45:01 +0000</pubDate>

		<dc:creator>Ross Hammond Artist</dc:creator>

		<guid isPermaLink="true">https://rosshammond.net/Lighthouse</guid>

		<description>
	
Lighthouse

(2023)

Video on a continuous loop


Created while on residency at the Towner Gallery, Eastbourne&#38;nbsp;

	
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		<title>Hello, Goodbye</title>
				
		<link>https://rosshammond.net/Hello-Goodbye</link>

		<pubDate>Tue, 30 Aug 2022 13:41:11 +0000</pubDate>

		<dc:creator>Ross Hammond Artist</dc:creator>

		<guid isPermaLink="true">https://rosshammond.net/Hello-Goodbye</guid>

		<description>
	Hello, Goodbye
	
	
(2022)Video

10mins 35sec


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	<item>
		<title>The Empty House</title>
				
		<link>https://rosshammond.net/The-Empty-House</link>

		<pubDate>Tue, 02 Nov 2021 11:54:22 +0000</pubDate>

		<dc:creator>Ross Hammond Artist</dc:creator>

		<guid isPermaLink="true">https://rosshammond.net/The-Empty-House</guid>

		<description>
	Laid Off

(2022)
Video Installation
Exhibited at Superfluous, Old Kent Road

Dedicated to my colleagues who were made redundant by the Hayward Gallery and Southbank Centre in October 2020. 

In the video I put on a piece of uniform for every exhibition host who lost their job. 

Thirty Six Hayward Gallery uniforms hung on two clothes rails in the gallery space, stitched inside are the initials of each worker.

	
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&#60;img width="3024" height="3024" width_o="3024" height_o="3024" data-src="https://freight.cargo.site/t/original/i/cf56276995a2b6cb93c0348f8de2f51e5488cc16ac6061d16dfbfb2acea9959c/IMG_0481.jpeg" data-mid="205682261" border="0"  src="https://freight.cargo.site/w/1000/i/cf56276995a2b6cb93c0348f8de2f51e5488cc16ac6061d16dfbfb2acea9959c/IMG_0481.jpeg" /&#62;


</description>
		
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	<item>
		<title>Knock Knack Run</title>
				
		<link>https://rosshammond.net/Knock-Knack-Run</link>

		<pubDate>Tue, 02 Nov 2021 11:54:22 +0000</pubDate>

		<dc:creator>Ross Hammond Artist</dc:creator>

		<guid isPermaLink="true">https://rosshammond.net/Knock-Knack-Run</guid>

		<description>
	Knock Knack Run
(2020)
Video, 5 mins, 49 secs, 


	&#60;img width="1280" height="800" width_o="1280" height_o="800" data-src="https://freight.cargo.site/t/original/i/51256dcfcdaf92c4a9e31cc4aa63d30b1eb10e57badada873072c998cf51369f/knockknackrunrosshammond.jpg" data-mid="123383349" border="0"  src="https://freight.cargo.site/w/1000/i/51256dcfcdaf92c4a9e31cc4aa63d30b1eb10e57badada873072c998cf51369f/knockknackrunrosshammond.jpg" /&#62;


</description>
		
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	<item>
		<title>Fancy A Cup of Tea</title>
				
		<link>https://rosshammond.net/Fancy-A-Cup-of-Tea</link>

		<pubDate>Wed, 03 Nov 2021 10:22:36 +0000</pubDate>

		<dc:creator>Ross Hammond Artist</dc:creator>

		<guid isPermaLink="true">https://rosshammond.net/Fancy-A-Cup-of-Tea</guid>

		<description>
	Fancy a Cup of Tea(2021)Video Installation,Mixed Media, 6 minutes

	
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/f8d87b3d10976467dba9f2cd0af9e0219b0b66a2c68137993d49588cb8002cf2/fancyacupoftea2.png" data-mid="123468140" border="0"  src="https://freight.cargo.site/w/1000/i/f8d87b3d10976467dba9f2cd0af9e0219b0b66a2c68137993d49588cb8002cf2/fancyacupoftea2.png" /&#62;
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</description>
		
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	<item>
		<title>Sir Uncle Georgy</title>
				
		<link>https://rosshammond.net/Sir-Uncle-Georgy</link>

		<pubDate>Tue, 02 Nov 2021 11:54:22 +0000</pubDate>

		<dc:creator>Ross Hammond Artist</dc:creator>

		<guid isPermaLink="true">https://rosshammond.net/Sir-Uncle-Georgy</guid>

		<description>
	Sir Uncle Georgy&#38;nbsp;

(2019)
Performance&#38;nbsp;


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</description>
		
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	<item>
		<title>Tut Tut Shhhh </title>
				
		<link>https://rosshammond.net/Tut-Tut-Shhhh</link>

		<pubDate>Tue, 02 Nov 2021 14:49:46 +0000</pubDate>

		<dc:creator>Ross Hammond Artist</dc:creator>

		<guid isPermaLink="true">https://rosshammond.net/Tut-Tut-Shhhh</guid>

		<description>
	Tut-Tut Shhhh

(2019)
Performance
Part of a evening of moving image and performances at Seventeen Gallery called Penny Dreadful.&#38;nbsp;Discription

Tut-tut Shhhh was an unsolicited interruption at an art film night, I act as an outside observer commenting on the previous videos shown, comparing it to going to the cinema as a child with my mother. I then start to tell an anecdote about a time I went to the theatre, booking tickets for my mum’s birthday while at art school, in an attempt to impress her with my new learned knowledge. I sit amongst the audience as I speak about the equitqute required in the theatre space, many that my mother is not aware of. As the evening goes on I tell of my increased emabarrasment as she falls foal of these unwritten rules, for example bringing her own sweets, this leads me to turn into a monster of meritocracy. Through interacting with the audience I play with classic pantomime expressions 
of call and response, directed by me but eventually taken over by them, as the performance goes on.

	
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